Around 1981, metal was fairly confused regarding its own direction. Black Sabbath had founded the genre on a foundation of heaviness; Judas Priest had stripped away most of the blues influences and defined early metal images and lyrical styles; and Motörhead had further embraced the styles of Judas Priest while blending in their own punk influences. However, come 1981, metal had begun to branch out, with the NWoBHM kicking the speed of things up a notch and with Venom taking metal's core themes to darker territory. While there is certainly value to be found in the extreme metal movement that ensued, Riot came in 1981 with Fire Down Under to pay homage to the greats of the oldest school of metal and to forge their own metallic legacy.
One aspect of Fire Down Under that is best mentioned now rather than later is that it is a perfect display of inconsistency in a metal album, with only Blood Fire Death or Left Hand Path challenging it (two albums that blow their load way too early with an epic first track or two). For all intents and purposes, I am reviewing the first half of this album, as the second half is far too tame by comparison.
That being said, the first few tracks of this Riot record are some of the best in metal. Most notable are the first two songs, "Swords and Tequila" and "Fire Down Under", although tracks like "Outlaw" or "Don't Bring Me Down" are extremely worthwhile as well. These tracks perfectly integrate the newfound speed metal flare of the NWoBHM with the fun themes of early Judas Priest and Motörhead; in essence they are perfectly "metal" as very little embodies early metal subculture like good 'ole swords and tequila. However, unlike many of their contemporaries, Riot have more going for them on this record than mere rebellious lyrics. The memorable choruses and perfect pacing of the first few tracks make the album stand out even amongst elite peers such as Iron Maiden or Angel Witch. Also, the speed metal riff acting as the main hook in the title track is one of the most catchy yet creative riffs these ears have heard in a long time.
To sum up this review in one sentence, Riot earn their place amongst metal greats not by their transcendent songwriting (i.e. early Skepticism) or their extreme morbidity (i.e. Hellhammer), but rather with a highly effective embrace of '70s metal culture and early '80s metal riffcraft.
